Diana Carey has consciously addressed Jackson Pollock’s long shadow over expressionism by throwing paint on the canvas. But she has given the technique some interesting tweaks by painting nature rather than devoting herself to abstraction alone, in a mode that ranges from impressionist views to nearly Asian perceptions of the natural world. Taken with nature, the artist presents lyrical impressions of the world; trees, leaves, and grass are exquisitely presented in ways that maintain their difference from an overly faithful, abstract expressionist treatment. The results look and feel like versions of a nature perceived through a style that keeps alive both the artist’s hand and what she sees. The system of her painting likely suggests, imagistically, the French impressionists, who took it upon themselves to render the effect, rather than the actuality, of light. Carey views her art as being essentially gestural, leading into a space built up by drips and splashes.